Editing Reds (film) (section)

===Filming===
When principal photography began in August 1979 the original intention was for a 15- to 16-week shoot, but it ultimately took one year. Filming took place in five countries and at various points the crew had to wait for snow to fall in [[Helsinki]] (and other parts of Finland), which stood in for the [[Soviet Union]], and for rain to stop in Spain. Beatty asked the Soviet government for a permit to film in Moscow but was denied.<ref name=":0"/> A cottage in [[Kent]] was used to depict exteriors of the Reeds' home in [[Croton-on-Hudson, New York|Croton-on-Hudson]], which in reality was a small early American [[saltbox house]]. The interior sets built at [[Twickenham Studios]] and [[EMI-Elstree Studios]] were also enlarged to evoke the "flavor" of the real home without reproducing it exactly.<ref>{{cite news| url=https://www.nytimes.com/1982/01/03/nyregion/the-story-of-reds-and-the-reed-house.html| title=The Story of 'Reds' and the Reed House| first=Marc|last=Myers| newspaper=New York Times| date=1982-01-03| access-date=2019-04-10}}</ref>

Other English locations included [[Frensham Common|Frensham Ponds]] in Surrey, which stood in for [[Provincetown, Massachusetts|Provincetown]], the Smeaton Room of the [[Institution of Civil Engineers]] at [[One Great George Street]] for the Liberal Club meeting room in Portland, and the interior of [[Lancaster House]] for that of the [[Winter Palace]] in St. Petersburg.<ref>{{cite web| url=http://www.british-film-locations.com/Reds-1981| title=Reds (1981)| publisher=british-film-locations.com| access-date=2019-04-10}}</ref> Another round of filming began in 1980 in [[New York City]], [[Washington, D.C.|Washington D.C.]], and [[Los Angeles]], including Paramount Studios.<ref name=":0"/>

The Italian cinematographer Vittorio Storaro was banned from shooting the scenes shot in the U.S. after he was unable to gain an [[H-1B visa]] and because local [[Labor unions in the United States|trade unions]] blocked him from doing work on the film. The film encountered similar problems with [[trade unions in the United Kingdom]], and had to hire a separate British crew and pay British actors enrolled in [[Equity (British trade union)|Equity]] at [[Screen Actors Guild]]-rate salaries in order to allow American actors to film scenes in the U.K. These trade disputes caused the film to run heavily over budget, but the studio ultimately recouped its costs after financing the film with a low-interest loan from [[Barclays]] as part of a [[Tax shelter|tax-shelter]] plan.<ref name=":0" /> Later saying the film "broke even, plus change", Paramount head [[Barry Diller]] added, "I'm proud we made ''Reds''. I'm also proud we protected ourselves in every way known to man".<ref name=dillerventures>{{cite news|url=https://www.nytimes.com/1983/08/28/business/barry-diller-s-latest-starring-role.html|title=Barry Diller's Latest Starring Role|first=Sandra|last=Salmans|work=The New York Times|date=August 28, 1983|accessdate=February 14, 2022}}</ref>

Actress [[Maureen Stapleton]] was due to begin shooting her scenes in London in November 1979, but she refused to take a plane because of a fear of flying. Because it was the wrong season for [[ocean liner]] travel, the production had to arrange for Stapleton to travel on a [[Tramp trade|tramp steamer]], which broke down in the [[Atlantic Ocean#North Atlantic|North Atlantic]] and had to be towed to [[Amsterdam]].<ref name="Biskind" /> This caused another unwelcome delay. Beatty would also not stop the camera between [[take]]s, letting it roll continuously, and insisted on a large number of takes. Paul Sorvino said he did as many as 70 takes for one scene; Stapleton had to do 80 takes of one scene, which caused her to say to Beatty, "Are you out of your fucking mind?"<ref name="Biskind" />

Beatty and Keaton's romantic relationship also began to deteriorate during filming. [[Peter Biskind]] wrote about the making of ''Reds'', "Beatty's relationship with Keaton barely survived the shoot. It is always a dicey proposition when an actress works with a star or director—both, in this case—with whom she has an offscreen relationship. Keaton appeared in more scenes than any other actor save Beatty, and many of them were difficult ones, where she had to assay a wide range of feelings, from romantic passion to anger, and deliver several lengthy, complex, emotional speeches." George Plimpton once observed, "Diane almost got broken. I thought [Beatty] was trying to break her into what Louise Bryant had been like with John Reed." Executive producer [[Simon Relph]] adds, "It must have been a strain on their relationship because he was completely obsessive, relentless."<ref name="Biskind" />